Realist art has the possibility for honesty, yet the portrait it produces is often unlikable; it depicts an accurate exterior at odds with the interior and the desired self-perception.
Romantic art demonstrates the artist’s ability, creating an image too beautiful to be representative of either the subject’s exterior or interior.
Firstly, the Bloom family unit is uncannily similar to Shakespeare’s Sicilian royalty, most notably in the unspoken grief of both protagonist’s lost sons, and the ways in which the authors address the modes of atonement and recovery.
Indeed, it is not unreasonable to draw connections between Stephen’s cynical discourse on wives in “Scylla and Charybdis” and Bloom’s museum musings in “Lestrygonians” as the King’s competing theories of female sexuality.
Devotees often speak of Salinger’s writing in terms of its mysterious, heightened quality—Janet Malcolm notes “its fundamental fantastic character,” and Adam Gopnick refers to the recurrence of “childlike enchantment” in the work.
I plan to explore the mysterious, heightened quality of Salinger’s writing by putting language to the techniques and devices that contribute to a sense of the fantastical.Buddy, like his trickster creator, seems to be almost daring the reader to accuse him of invention.Salinger also incorporates visual tricks in his narratives in what Martin Bidney calls “aesthetic epiphanies” (117).Salinger’s writing is full of feints and winks and a willingness to play.For example, Salinger’s signature snappy vernacular dialogue often takes on properties of theatrical improvisation through which characters play off one another with the aim of keeping the conversation going to reach a point of emotional payoff.Two passages seem particularly relevant to this method of analysis: Prospero’s introduction of Caliban, Language is power, not only as a marker of self-expression, but as one of the civilization and, perhaps more importantly, artistry.It is Prospero’s command of language, much like Mulligan’s, that enables him to continue this twisted master-slave, master-student relationship..What qualities do readers (especially writer-readers) admire in Salinger’s stories?And what about these qualities and others make Salinger’s body of work difficult or unappealing from a critical standpoint?I plan to trace this paradigm first through the Telemachiad, honing in on Joyce’s combined incorporation of Ariel’s song into Stephen’s extended meditation on a corpse on the beach at the close of “Proteus.” “Aeolus” is likewise a point of interest as it most directly addresses Joyce’s preoccupation with rhetoric and style, and Stephen’s linguistic reticence, self-consciousness, and susceptibility to persuasion.I also plan to examine the various mentions of linguistic and artistic schematics.